Warwick Thornton’s latest cinematic endeavor, “The New Boy,” serves as a testament to his stylistic brilliance, potentially surpassing his acclaimed works like “Samson and Delilah” and “Sweet Country.” Drawing from his own experiences as an Aboriginal child in a Christian boarding school, the film delves into the life of a young Aboriginal boy with supernatural powers in the 1940s. These extraordinary abilities serve as a bridge between Indigenous spirituality and Christian doctrine, yet the film remains intentionally cryptic and open to multiple interpretations.
Thornton thrives on ambiguity, weaving a visually stunning narrative filled with thought-provoking religious symbolism. While enigmatic films often invite diverse readings, “The New Boy” occasionally tiptoes into excessive abstraction. Cate Blanchett’s portrayal of Sister Eileen, though intriguing, is somewhat overshadowed by the film’s distinctive style.
The plot unfolds at a leisurely pace, but Thornton’s exquisite cinematography elevates it to the status of a cinematic tone poem. The film’s underlying message may revolve around the irreconcilability of Indigenous spirituality with Western religion. Nonetheless, “The New Boy” staunchly resists a single, definitive interpretation, encouraging viewers to embark on a quest for meaning within its enigmatic narrative. Ultimately, it celebrates the allure of open-ended storytelling. Visit my flixer for more!
Summary: The mesmeric story of a nine-year-old aboriginal Australian orphan boy who arrives in the dead of night at a remote monastery run by a renegade nun.
